The preparation and celebration of Nature for the Divine Birth, pp. 351-352 (SH 181)

Savitri Class in Hindi with Alok Pandey
Savitri Book Four : The Book of Birth and Quest, Canto One : The Birth and Childhood of the Flame

Seasons are symbols of the moods of the Earth which it undergoes in its relationship to the Sun which is its center. Seen thus it also becomes a symbol of the human life and its matter bound personality to the soul. Summer is the season of preparation when the earth toils and sweats under the light and heat of the sun. Rain comes to cleanse and thrash the hard soil of earth for the new sowing. Persisting in the cleansing and purifying process can be taxing and the mood of the earth turns dull as it feels the sun far and the clouds hang between her and the light. Then enters Autumn bringing with it a quieter mood, a meditative and reflective time when the old consciousness begins to wither off. Finally the spring of the New Consciousness, of the New emergence arrives with all its joy and felicity.

Earth’s mood now changed; she lay in lulled repose,
The hours went by with slow contented tread:
A wide and tranquil air remembered peace,
Earth was the comrade of a happy sun.
A calmness neared as of the approach of God,
A light of musing trance lit soil and sky
And an identity and ecstasy
Filled meditation’s solitary heart.
A dream loitered in the dumb mind of Space,
Time opened its chambers of felicity,
An exaltation entered and a hope:
An inmost self looked up to a heavenlier height,
An inmost thought kindled a hidden flame
And the inner sight adored an unseen sun.
Three thoughtful seasons passed with shining tread
And scanning one by one the pregnant hours
Watched for a flame that lurked in luminous depths,
The vigil of some mighty birth to come.
Autumn led in the glory of her moons
And dreamed in the splendour of her lotus pools
And Winter and Dew-time laid their calm cool hands
On Nature’s bosom still in a half sleep
And deepened with hues of lax and mellow ease
The tranquil beauty of the waning year.

Then Spring, an ardent lover, leaped through leaves
And caught the earth-bride in his eager clasp;
His advent was a fire of irised hues,
His arms were a circle of the arrival of joy.
His voice was a call to the Transcendent’s sphere
Whose secret touch upon our mortal lives
Keeps ever new the thrill that made the world,
Remoulds an ancient sweetness to new shapes
And guards intact unchanged by death and Time
The answer of our hearts to Nature’s charm
And keeps for ever new, yet still the same,
The throb that ever wakes to the old delight
And beauty and rapture and the joy to live.
His coming brought the magic and the spell;
At his touch life’s tired heart grew glad and young;
He made joy a willing prisoner in her breast.
His grasp was a young god’s upon earth’s limbs:
Changed by the passion of his divine outbreak
He made her body beautiful with his kiss.
Impatient for felicity he came,
High-fluting with the co¨ıl’s happy voice,
His peacock turban trailing on the trees;
His breath was a warm summons to delight,
The dense voluptuous azure was his gaze.
A soft celestial urge surprised the blood
Rich with the instinct of God’s sensuous joys;
Revealed in beauty, a cadence was abroad
Insistent on the rapture-thrill in life:
Immortal movements touched the fleeting hours.
A godlike packed intensity of sense
Made it a passionate pleasure even to breathe;
All sights and voices wove a single charm.
The life of the enchanted globe became
A storm of sweetness and of light and song,
A revel of colour and of ecstasy,
A hymn of rays, a litany of cries:
A strain of choral priestly music sang
And, swung on the swaying censer of the trees,
A sacrifice of perfume filled the hours.
Asocas burned in crimson spots of flame,
Pure like the breath of an unstained desire
White jasmines haunted the enamoured air,
Pale mango-blossoms fed the liquid voice
Of the love-maddened coïl, and the brown bee
Muttered in fragrance mid the honey-buds.
The sunlight was a great god’s golden smile.
All Nature was at beauty’s festival.

[Savitri: 351 – 352]

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(line breaks are added to emphasize separate movements)